Classic Mode

Presto

Issue: 1920 1790

S T O
November 13, 1920.
ESSENTIAL SKILL OF THE TUNER
IN PRESERVATION^ THE PIANO
An Indispensable Part of the Instrument's Upkeep and Care Too Little
Understood by the Public or Even by the
Average Dealer
11
WAREROOM WARBLES
(A New One Every Week )
By The Presto Poick.
• IT LOOKED AS THOUGH THE
BABY GRAND HAD FIVE GOOD
HEALTHY LIMBS."
By Henry Francis Peltier
Piano actions are regulated to within one thou-
sandth of an inch, and great skill is required to get
the "feel" or touch.
The action must of necessity be very responsive,
quick and not too hard to the touch. I have found
that a medium touch is the best for all-round work.
Some actions are too easy; this can be remedied
by bending the damper springs to make them strong-
er, also by starting the "liftoff" of the dampers soon-
er. When the hammer is about one-quarter up to-
wards the strings, bend the spoon so that the damper
will start to move away from the string.
To make a heavy action a little easier, I reverse
the operation, but care must be taken not to make the
damper springs too light, or weak, for then they
.will not damp properly. Have the dampers start to
leave the strings when the hammer is three-quar-
ters up towards the string, thereby making the
touch that much easier.
Back to Dampness Again.
Dampness expands all woods. More especially in
pianos, where it is very dry, caused by being treated
:n dry kilns.
The amplifying, or sound-board, absorbing damp-
ness, swells up and creates a larger crown, which
causes more tension, thereby raising the pitch of
the instrument. After a dry spell, the woods re-
turn to normal, thereby lowering the pitch, as a rule,
below ihe original.
The extra tension, caused by the expansion, puts an
extra strain upon the frame of the piano; not enough
to cause any material damage, but enough to put
the instrument out of pitch. The pitch rises when
in a damp place, and lowers when put in a dry place.
The lowering is caused by the release of tension
upon the frame of the piano.
I have had pianos in theaters to change as much
as a quarter tone, and after the heat had been on for
several days, go back and raise the pitch, where be-
fore I had to lower it.
There is nothing to do but this: in damp weather,
no matter how warm it is outdoors, a little heat in-
doors will eliminate all dampness.
The small amount of heat you would create would
not be felt very much, owing to the fact that it will
remove all. or a part, of the excess moisture in the
rooms.
In homes where a furnace is used, it is good policy
to burn up some rubbish once in a while, just to
BOHEMIAN 132 ROLL
(For 65-note
Pianos)
1. Kvitko. Valcik.
Na Pankraci na
vrsicku. Valcik.
Kralovna Vitezxtvi.
chod.
Cerveny Satacek.
Roztomila. Polka.
Siva Holubicka. Valcik.
Na Vyskocilce. Polka.
Zpiva Zivot. Valcik.
Zlata Praha. Polka.
Vesely Zivot. Valcik.
A November Release!
Place your orders now to insure
prompt delivery.
CLARK ORCHESTR \ ROLL CO.
De Kalb, Illinois
eliminate this extra moisture which sometimes
comes up through the furnace pipes.
There are no perfectly dry basements, and a little
heat makes for better health, by burning up some of
the rubbish that gathers in basements, on rainy days.
To Ease the Bearings.
Of course there are times, owing to material used,
when it becomes necessary to ease bearings on all
flanges. I use the following method if I have ample
time:
A drop of water on each flange bearing will shrink
the felt when it may have become dried. Of course
it will take time to dry.
Where there is no time to wait for this method,
I use the following: Ether and benzine, mixed half
and half, a large drop put on each bearing will give
instant relief. The ether will evaporate quickly,
also the benzine. After the benzine has evaporated,
the residue left by the benzine acts as soapstone, or
graphite. Where I have plenty of time I have used
the first method described.
•In voicing a piano with a straight or level board,
it is best to leave it somewhat brilliant, or to leave
the hammers somewhat hard.
You thereby do not get that "slap" which a soft
hammer would create. That is why most old pianos
sound better when they are not "picked" much, but
just enough to smooth up and remove the objection-
able tones.
An old piano loses its volume, or strength, by the
board becoming flat or level, in which condition,
while it is absorbing some of the vibration, it can
not take up others coming to it from the hammer
blow. In other words, being depressed, the board
being "past" level, or below level, it is impossible for
it to absorb or increase the vibrations properly, thus
to create a larger tone.
Voicing, or Tone Regulating.
The most essential tool to have is a sand fi'e that
you can use with accuracy and ease. The piano
must first be truly harmonized, or tuned; if not, you
will not get a good smooth job of voicing.
Make a sand file as follows: A piece of thin wood,
paddle shaped, maple preferred, about a quarter of
an inch thick, one and a half (1>4) inches wide by
seven inches long. Taper the wood to about an
eighth of an inch at one end, so that you will be
able to get "under" the hammers with ease. Cut a
slot across the "paddle," so as to insert one end of
the sand paper, and then bring the other end around
to be placed under the plate, the plate screwed tight.
This will hold the paper firmly. You will be able
to file three hammers at one operation and get them
straight, too. Excepting of course the hammers in
the base, and a few that are put in on the slant, or
bias.
Stand in front of the action; that is with the ac-
tion so placed that the dampers are nearest to you.
Start with the base end and work up towards the
treble.
Hold the sand file with a firm grip, but not too
tight, as you must hold it so that it will accommo-
date itself to the surface of the hammer, and be on
the level with it. A little practice will soon make
perfect; in fact you will find that, after you have
filed several sets, you will become accurate in using
the file.
Hold the file with index finger placed in center,
thumb on one side, and second, third and fourth fin-
gers on the other side of file. Holding the file thus,
you will naturally place it in the same position eve r y
time.
Treating the Hammers.
Be sure that you remove only one or two layers of
felt at a time. If an old piano and the hammers are
badly worn and cut, it will be necessary to cut or
trim them with a knife before filing them. If this
becomes necessary, do as follows:
Start as far back as the wiring of felt will permit.
Cut an equal amount of felt all around the hammer,
being sure to remove the same amount under as you
remove at the top of the hammer. Right here I will
tell you how to sharpen j'our knife.
Use double OO sand paper; place it on a flat piece
of wood, or other surface suitable for the purpose,
rubbing the knife to and from you, as you would
sharpen a razor. The reason I use sand paper for
ARTISTIC EFFECTS.
You've read somewhere about the way
The men blush in the street,
While tripping past them, sweet and gay,
The pretty maids they meet;
They tell about the way-up skirts,
Displaying ankles trim—
But from the vision let's divert
To still more perfect limb.
In early days they used to show
Six legs on instruments
So small that they could easy go
In modern outing tents;
And later'yiant grands could boast
Of just three well-turned legs.
Which thinner grew, each to a post
More like three slender pegs.
* * *
And now piano legs have grown,
To vie with other arts,
Until there's nothing, as you'll own,
Can show more graceful parts;
One diiy I saw five graceful legs,
As fine as e'er were tooled,
That held one case as smooth as eggs,
Unless my eyes were fooled!
A LOT OF WALNUT VENEER
IN THIS MONSTER LOO
Base of Walnut Tree Brought to Ottawa, 111.,
Weighed Nearly Five and a Half Tons.
A walnut log, 12 feet long and nearly six feet in
diameter at the base and weighing five tons and
900 pounds, attracted much attention as it was moved
through the streets of Ottawa, 111., last week.
The tree from which it was obtained was found
on the Brumbach farm, east of Wedron, 111., and
was purchased for a St. Louis concern by J. O.
Wheaton of Bloomington, 111., a buyer of choice
woods. The remainder of the tree was cut up some
time ago and shipped to St. Louis.
Mr. Wheaton regards this tree as one of his great-
est "finds," and he says it will be sawed up into wal-
nut veneer for use in making pianos, talking machines
and high grade furniture. Ottawa residents who
claim to know something about trees estimate that
this one was over 200 years old.
this work is that it leaves the edge of the knife with
a rough, or saw edge. A knife sharpened like a
razor would not hold its edge very long, for felt con-
tains ingredients that soon puts the edge of a sharp
instrument out of commission.
In cutting the felt of hammers, move the knife
back and forth slightly; sometimes I have found that
I could cut the felt without much shifting of the
blade. By holding it on a slant it would cut freely;
of course this requires some practice.
Do not cut the hammers so that you will leave a
flat surface at front. They must be so cut that they
will form, and come to, a small round point at the
front. This form will cause a better tone, for it will
strike only at the node of string. If you do not
get a point or nearly that, the hammer will strike
beyond the node and spoil some effect of the tone,
in other words, will "damp" at same time the stroke
of the hammer creates the vibration.
#
(To be continued.)
Chas. C. Adams & Co., Peoria, 111., concluded a
successful removal sale last week.
Enhanced content © 2008-2009 and presented by MBSI - The Musical Box Society International (www.mbsi.org) and the International Arcade Museum (www.arcade-museum.com).
All Rights Reserved. Digitized from the archives of the MBSI with support from NAMM - The International Music Products Association (www.namm.org).
Additional enhancement, optimization, and distribution by the International Arcade Museum. An extensive collection of Presto can be found online at http://www.arcade-museum.com/library/
12
PRESTO
WISDOM OF THE
COMPANY'S POLICY
Most Potent When It Is Founded on the Sim-
ple Rock-Ribbed Honesty Which Is the
Whole Philosophy of Sound
Business.
The piano man of the look-ahead kind would no
more think of starting a business without a well-
defined policy than he would think of considering a
start without capital and a-connection with the man-
ufacturers of dependable pianos. In fact, a policy
grounded on the square deal is a necessity in any
commercial undertaking—even the circus business.
J h e latter is alluded to because the policy of one
circus incorporation which has reformed the circus
business from the very example of its methods.
At its worst day the piano business was righteous
compared with the circus business at one time.
Throughout the West thirty years ago the word "cir-
cus" stood usually for a picked company of sharp-
ers and petty criminals traveling from town to town
giving two performances daily, rain or shine, under
one tent, a single ticket admitting you to every-
thing.
The Decoys.
True, there were colored posters, bareback riders,
clowns, wild animals and the parade. These took
people out to the lot to see the show. Once there,
the "privilege" men turned them into revenue. The
privelege men comprised card sharpers, shell-work-
ers, pickpockets and plain strong-arm thugs, to
whom the circus proprietor sold the privilege of
robbing people in various, stipulated ways, sharing
the loot on a straight percentage basis. And while
the experts robbed the suckers at the lot the canvas-
men stripped the henroosts and clothes-lines. The
circus was a terror everywhere and only got an
entrance into many places by bribing the municipal
authorities.
But one day a little new wagon circus set out
from a Wisconsin town. It had meager equipment,
small capital, but a fine asset in the shape of a policy.
What that policy has accomplished for the little
circus and what it has effected for the entire circus
business was proudly reviewed by William Rutger,
purchasing' agent for Ringling Bros, in a chat this
week with Louis Malecki, manager for Carl Fischer,
Chicago. Mr. Rutger, who was formerly a piano
man and saw the application of the experiences'of
the little circus with a policy grounded on the square
deal to the piano or any other business.
Offered Good Value.
The little new circus took to the road entirely on
its merits as an amusement enterprise. According to
its policy all it proposed to sell was entertainment.
The swindling fraternity was astonished to learn
that no "privileges" were to be negotiated. Aston-
ishment grew profound when the owners' full policy
on that point became known. Pinkerton detectives
accompanied the show, suppressing swindlers and
crooks of every sort even when they had permission
to work from bribed authorities. The humble amuse-
ment enterprise founded on the square deal grew
until its founders today practically control the cir-
cus industry.
Lesson to Piano Trade.
In this experience, drawn from a novel commercial
field, is embodied pretty much the whole philosophy
of sound business policy. At the bottom lay old-
fashioned, rock-ribbed honesty, which amounted to
high originality at that day in the circus business.
The policy of the circus did not differ in kind
from the policy of many piano enterprises started at
the same time. But the example of the circus is
more dramatic. Policy is nothing more than the
common law under which a given business is con-
ducted. The true policy maker in the piano business
is a man with his feet firmly on the ground today
and a clear insight into tomorrow, and, perhaps, a
fair guess about the day after. The policy of the
piano house is the law and the statutes for the
government of the business. The owner is the exec-
utive that enforces them as the problems arise.
The Temptations.
But even with a well-defined policy everything will
not always go smoothly. If a business is alive at all
it usually seethes with energy working at cross pur-
poses, just like a healthy, busy nation. And many
times in a year the dealer with even the most rigid
policy will be besought to shut his eyes to one of the
minor provisions of his statutes or pressure be
brought to bear to have a new statute passed to
cpver some special case.
Elements of Sound Policy.
The elements of sound business policy are not
many. Foresight, honesty, stability and simplicity
tell virtually the whole story. Foresight first, be-
cause today's sales and production really rest on yes-
L
terday's energy and planning. Not everyone in the
piano business understands this. Those who do
have large advantages. The man without foresight
locks upon business as a tree, from which he ought
to pick ripe fruit today. He will do it with a crooked
faro outfit if there is no other way, and so we have
the "privilege" artist, who is by no means confined
to the circus world. The born policy-maker, how-
ever, looks upon business as a twig, and is content
to know that this afternoon he bent it at an angle
that will yield fruit five years from now.
Returns from Policy.
In the matter of honesty, fair dealing with the
public is common enough, and a very little con-
science spread over a number of years will yield
magnificent returns. What being honest in this way
comes to is shown by the reputation of a certain old
American piano house founded by a merchant so
conscientious that, though he has been dead a gen-
eration, his name is still synonymous in his city,
and the piano made generally for square-toed dealing.
But there is another sort of honesty more diffi-
cult to practice as policy—square-toed dealing with
one's self and the house. This Seems particularly
hard to adhere to when a business is young and
weak, so that often in those days, when a little hon-
esty would run into profitable ratios, eager pickers
break the young tree's branches to get the fruit.
Adopt Policy Early.
Sometime ago a certain piano manufacturer spoke
of his policy at a trade dinner, explaining similar
rules rigidly followed by the house.
"But you can afford to maintain such policies—
you're strong and rich," said a listener. "We small
fellows can't do that."
"Why, every one of our policies was adopted when
we were young and weak," he replied. "That's just
the time to lay down law and fight it out, while
you've got little to lose. The man who says he will
adopt a square policy after he's built up a business
is like the chap who thinks it'll be time enough to
cut out cocktails when he finds they're hurting him."
Necessity for Stability.
Stability is that element which enables those who
work for and deal with a house to leave it confi-
dently in the assurance that it will be found right
on the same spot when they come back.
Two piano salesmen visited a piano buyer, ap-
point head of a new music department in a certain
big Western department store, noted for shrewd
dealing. The first man represented a concern that
trims policy, prices and everything else from time
to time to meet conditions. When figures were
quoted the buyer laughed.
"I. got lower prices than that direct from your
house—better wire home and find out what the
prices really are."
This was merely buying tactics. But it deceived
the seller, who hurried out to telegraph. While
he was away another salesman came in, and the
buyer worked the same ruse.
"Who gave you lower prices?" asked the salesman
skeptically.
"Your superior."
"I have no superior on prices. Our people stand
behind me, and you know that as well as I do."
This man got the order before the other found he
was duped.
In this matter alone many a trade lies waiting
today for the giant-killer who can bring into it
open, uniform, stable prices.
A SPREADING INFLUENCE.
November 13, 192(5.
For a
Bigger and Better
Business
There is nothing to compare
with the complete line of
M. SCHULZ CO.
The Players are RIGHT in
e v e r y t h i n g that means
money to the dealers and
satisfaction to the public.
You will never do anything better
than when you get in touch with
M. SCHULZ CO.
711 Milwaukee Avenue
CHICAGO
1OUTHERN BRANCH: 730 Candler BIdg., ATLANTA, CA.
An
ARTISTIC
JPIAHO
IN EVERT
DETAIL
•
II
HADDORFF PIANO CO.
ROCKPOKD,ILL.
ii
Striking evidence of the widespread influence of
the Music Industries Chamber of Commerce and the
dependence that is being placed upon it by the news-
papers is contained in an editorial on "Our Musical
II
Awakening," occupying two full columns in the Phil-
adelphia North American of November 5. The *=a=i=i=I=I=i=i=i=isl=IsBSBsa=i=ei=e9
writer of the editorial not only gives the Chamber's
National Bureau for the Advancement of Music credit
for its work, but a large part of his argument is
based upon a signed article on "America's Musical
Awakening," by C. M. Tremaine, director of the
Bureau, in the Music Number of the New York
No Skilled Pianist Will Challenge
Evening Post of October 30.
The Supremacy of
The Grand Is a Revelation
COAL REGIONS PROSPEROUS.
Henry P. Veatch, Chicago manager of the Packard
Piano Company, who recently traveled through the
coal mining sections of southern Illinois, said that
everything was fine in the coal towns. Everything
that looked like a coal mine was running full blast
and on full time, payrolls were big, and none of
the miners were talking or thinking strike, so far
as Mr. Veatch could learn. The piano business,
therefore, gave promise of being very good in the
southern parts of Illinois and Indiana. Mr. Veatch
was at Rochelle, 111., on Wednesday of this week.
THE
BRADBURY
It Has Been the Lead-
ing American Piano
for Sixty-five Years.
It Is More Artistic Today
Than Ever
Make the BRADBURY Your Leader
Manufactured Only By
AN ATHLETIC CLUB DIRECTOR.
E. F. Lapham, of Grosvenor, Lapham & Com-
pany, piano dealers, Fine Arts Building, Chicago,
lias been nominated as one of the directors of the
Illinois Athletic Club, for the three-year term.
F. G. SMITH, Inc.
450 Fifth Ave., NEW YORK CITY
Enhanced content © 2008-2009 and presented by MBSI - The Musical Box Society International (www.mbsi.org) and the International Arcade Museum (www.arcade-museum.com).
All Rights Reserved. Digitized from the archives of the MBSI with support from NAMM - The International Music Products Association (www.namm.org).
Additional enhancement, optimization, and distribution by the International Arcade Museum. An extensive collection of Presto can be found online at http://www.arcade-museum.com/library/
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